Sweet Little Xxx

Sweet Little Xxx

Julie Doucet’s 1990’s comic series Dirty Plotte was wildly imaginative and raucous, pulled no punches, and teetered constantly and surreally on the delicious edge between gross and fascinating.

by
Heather Kapplow
December 21, 2018 December 20, 2018
(Image courtesy of Uncivilized Books)
Ask most people to name the greatest working female cartoonist, and they’ll reply “Julie Doucet.” They’re wrong — Doucet stopped cartooning close to seven years ago — but their hearts are in the right place. Her comics are uniquely expressive, immediately recognizable, and provide instant, easy access to a compelling moment in history …. Ask most people to name the greatest working cartoonist, and you might hear Robert Crumb, Harvey Pekar, Peter Bagge — men to whom Doucet’s work has often been compared. It is only when you add in the issue of gender that her work receives the recognition it is due.
— Anne Elizabeth Moore, Punk Planet #73 (May/June 2006)
Anne Elizabeth Moore, former co-publisher and editor of Punk Planet and current editor of the Chicago Reader , has been championing and elucidating the work of Canadian cartoonist Julie Doucet for even longer than the 12-year gap between the article quoted above and the release of Moore’s new book, Sweet Little Cunt: The Graphic Work of Julie Doucet (Uncivilized Books).
Moore’s commitment to Doucet’s work could be dismissed as pure “fan girl” if not for her project’s careful, and very equitable balance between celebrating the irreverence and nuance of Doucet’s art, and building the canon of feminist role models for those (lucky? unlucky?) artists who find themselves floating between the worlds of writing and image-making.
The book’s atypical, and implicitly feminist, structure is organized around which of Doucet’s “selves” is being examined. Enjoyably, only one of these selves represents Doucet “actual self.” The rest are more magical creatures — her imagined self, dreamed self, unknown self, and, maybe most exciting — the “not–self-at-all.”
For those unfamiliar with Julie Doucet’s graphic writings, a quick primer can be found on her author page at Drawn & Quarterly . Doucet is best known for her 1990’s comic series Dirty Plotte (“plotte” is French for “cunt”), which was wildly imaginative and raucous, pulled no punches, and teetered constantly and surreally on the delicious edge between gross and fascinating. Much of her work, whether autobiographical or fantastical, addresses the disparity between being something designed for public presentation and being an unfiltered human; her portrayal of the human — and especially female — condition as one that we know through internal experience rather than societal norms, makes the mainstream portrayal of human behavior, particularly that of women, seem more artificial than real.
Through Doucet’s work, Moore identifies and illustrates a category of American feminism that emerged in the 1990s, characterized by an embrace of ecstasy achieved through unencumbered creativity and fantasy (epitomized by a strip in Doucet’s Dirty Plotte #12 in which an elephant with unusual skills brings her main character to much-needed orgasm); “autobiographical performativity,” which Moore identifies as a generative exploration of potential identities (in Dirty Plotte , Doucet’s protagonist, Julie, tries out, for example, being male and having a penis in the usual place, having a vagina on her forehead, having breast cancer, murdering her fans, dying, and indulging in occasional cannibalism); “not giving a shit,” in Moore’s words, about how one is perceived (Julie is a proud daily drinker and intermittent drug user, laughs until she pisses and shits herself, happily menstruates to flood levels, and stores her boogers as a soothing bedtime ritual); and intentional transgression of behavioral norms (for instance, cooking cats and dogs and resistance to housecleaning).
Moore argues that these qualities definitively locate Doucet’s work as in the same post-punk feminist paradigm as that of Cathy Acker, Kathleen Hanna, and Chris Kraus. She also parallels Doucet’s work with the projects of Chantel Ackerman, Carolee Schneemann, and even Gertrude Stein. Though Doucet, herself, did not consider her work intentionally feminist at the time, in hindsight, she acknowledges this reading. And, tellingly, she cites the profound sexism in the industry as a primary reason for stepping away from the underground comics world.
Though it can be theoretically dense, Moore’s great gift to scholarship on Doucet’s work and/or the history of non-cis-male comic-makers, is her focus on the details of Doucet’s comics: from her alertness to moments when a character’s foot kicks through the outline of a panel because of the foot’s enthusiasm, to all of the graphic elements that add up to a sequence being a “dreamoir” (dream memoir), to the relative fragility of lettering and line weight. Moore’s attention is razor sharp and brings imagery that one may not have seen in person in many years to the forefront of our consciousness.
Another gift is that Sweet Little Cunt answers the question of many late-’90s Doucet fans: where is she now? It’s a relief and thrill to know that she continues to make visual and textual art, including printmaking and experimental, small-run, handmade books. And, in a 2017 interview in Moore’s appendix, she admits that she has begun to draw again. Whether she’ll ever publish comics again is still an open question, but hopefully the comics culture she left behind has shifted enough that if she does, it will welcome her back as a pre-eminent living cartoonist, with no gendered qualifications of the honor.
Sweet Little Cunt: The Graphic Work of Julie Doucet by Anne Elizabeth Moore (2018) is published by Uncivilized Books and is available from Amazon and other online retailers.
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Heather Kapplow is a Boston-based conceptual artist. Her work involves exchanges with strangers, wielding talismans, alternative interpretations of existing environments, installation, performance, writing, audio, and video. See heatherkapplow.com...
More by Heather Kapplow

Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.
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Started Jan 25, 2005
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When My Little Sister Wants to Play 'Doctor'
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My sister is 10 years old, and we all try to encourage her to use her imagination and play. In this day and age, I feel like sometimes everyone (including kids) are too busy looking at screens for entertainment instead of entertaining themselves. I try to explain to her that I wish I felt like doing all the things she can, but having chronic fatigue syndrome leaves me very limited.
Naturally, she wants to play games and do things with me. We might play a game on the card table, where I can lay in the chair on the heating pad. She plays restaurant and brings me food. She made her own menu and everything. Then we swap roles and I bring her fake food.
However, after we were done playing restaurant, she wanted to play doctor. This may sound silly, possibly petty or even me just being plain sensitive. I told her alright, we can play that. She asks me why I am there, and of course, playing doctor is no fun if there is nothing wrong with you. Right? It makes sense for a kid to want to have something wrong with the other. That is what playing doctor is anyway.
I just kept hoping she would not bring up my illness. She had done it in the past. She had asked why I was there and even had a cure for it. I wish she did, I guess she wished so too. I had to explain to her over and over how it works. Do I expect her to perfectly understand? Of course not. But it sometimes seems like she does not believe me.
In the end, all she did was say I had strep throat. She then “removed” my tonsils later.
Every time she asks if I want to play doctor, my stomach drops. I am sick of doctors. I am sick of going to doctors with all sorts of things wrong with me and being told there is either nothing they can do or they do not believe me.
I hate that I am this way, and I hate that the very thought of playing doctor fills me with such dread and fear.
I hate that I am 22 years old, and I have enough diagnoses on my chart that it takes up many pages.
I hate that the smallest thing like this triggers all these emotions. I hate explaining it, so I typically don’t.
When my younger sister wants to play doctor, I do. I play with her. I swallow these emotions, because the last thing I need to do is make her feel like she needs to walk on eggshells.
I try my best to not let everything affect me personally, like when people that say, “if you do not have a wheelchair, you should not use the handicap parking.”
It’s those who refuse to believe someone as young as me can relate on a personal level to my grandmother and have numerous health problems.
It’s those using my illness as a joke or a fake reason not to have a job.
It’s those people who direct something at one population, and yet I get offended.
I feel like ableism is real, but I also feel I need to remember not everyone is aware. I was not aware til I got sick at 19. I was not aware of the world of chronic illness.
Educate those around you. Spread awareness not just for the illness you personally have, but the whole spoonie world.
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CFS/ME, Fibromyalgia, and Scoliosis. Possibly IBS. Depression. Married, 24. Taurus and INFJ. Demi.
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